I've only ever seen short clips of the David Lynch film, so I can't comment on how the book matches or differs from it.

However, the short chapters in this book do an excellent job of building up a sense of unease. They create the feeling that 'things can't end well'. Each chapter adds a little bit more to the reader's knowledge and understanding of the characters.

I noticed a few reviews that mentioned the "southern language". As a Brit, I had no problems whatsoever with it. In fact, I particularly admired the treatment of the violence when it eventually comes. It is nasty, brutal, and short, just like the real thing.

Most authors would have dwelt on such a climactic scene and given far more gory detail, as well as describing the feelings of the participants. Instead, Gifford makes it sudden and quick, which adds to the overall impact.

Overall, this is an exciting beginning to the Sailor and Lula novels. It has me eager to read more and find out what happens next.

The phrase "about as thin as the paper it's printed on" is a vivid and concise description.

It implies a remarkable degree of thinness, comparing the object in question to the delicate and often flimsy nature of paper.

This comparison not only gives a clear visual image but also emphasizes the fragility or slightness of the thing being described.

It could be used to describe a variety of things, such as a sheet of metal that has been pounded or rolled extremely thin, a fabric that is almost transparent due to its thinness, or even a person's physique if they are exceptionally slender.

The simplicity of the phrase makes it easy to understand and remember, while its effectiveness lies in its ability to convey a specific quality with just a few words.

Overall, "about as thin as the paper it's printed on" is a powerful and evocative expression that can add depth and detail to a description.

I wholeheartedly agree with Brian G, even though he was originally discussing the sequel or side-quel of Wild at Heart. This particular work can be seen as the dick-lit equivalent of Weetzie Bat. It presents a road-trip style catalogue of things that men (are presumed to) like, starring two young and naïve kids in love.

I recall having a greater fondness for Weetzie Bat. At least it made an effort to be something more substantial than just a glorification of "Aren't tacos and cold beer and jazz the absolute best? Aren't other combinations of things like menthol cigarettes and gum and tattoos and car magazines simply SO GOOD? Isn't the use of tough white trash and amorally-treated-yet-factually-correct racism in the deep South as an accent to all the hipness happening in this book SO EDGY?"

Wild at Heart is essentially marketing for cigarettes, cars, and cheesecake pin-ups, cleverly disguised as fiction. Instead, it would be advisable to watch the David Lynch-Gifford film. Even if not solely for the hybrid Elvis-Brando, noir, and Wizard of Oz references. The film does an adequate job of covering the material and manages to appear more interesting than this flimsy book with its large type and 3-page chapters. Moreover, the film successfully achieves the status of a twisted adult cartoon that the novella merely aspires to be.

I read this book because the renowned movie director David Lynch mentioned it during a Master Class.

Interestingly, I've not yet had the opportunity to watch Lynch's 1990 movie version. During the Master Class, he admits that the movie is different from the book.

What I liked the most about the book is its ending. It is at that moment that the true hearts of the characters are laid bare. All the preceding chapters are essential in setting the stage for this powerful conclusion.

The book is a relatively quick read, as the chapters are short and concise. The story transports me to places I would never otherwise visit, with characters that in real life I might try to avoid.

It is precisely this combination of elements that makes this book not only engaging but also truly wild, captivating my imagination from start to finish.

For a novel that ostensibly delves into the realm of fast-paced lives brimming with action, it is astonishingly static.

I have a penchant for dialogue, yet even I couldn't help but think that the characters should venture out of their confounded hotel rooms. They seem to be trapped in a cycle of simply recounting stories of past events to one another, rather than taking matters into their own hands and creating something new. Virtually all of the action unfolds within the confines of the printed pages. A decade passes with just a chapter break.

I happened upon this novel and a collection of its sequels in a phone box in town. However, I have decided to halt my reading here and return them. It's as if the novel's immobility has seeped into my own experience, leaving me feeling a bit stagnant. I'm curious to see if there are other literary works out there that can truly capture the essence of a dynamic and action-packed life without relying solely on the written word to convey it.

Perhaps I'll continue my search for that perfect novel that can transport me into a world of excitement and adventure, rather than leaving me feeling as if I'm stuck in a hotel room with the characters, listening to their tales of yesteryear.

Sailor and Lula, two young lovers, embark on a road trip to jointly experience life.

This seems inevitable. From the moment they were born, their life experiences have shaped them into who they are, more so than just a set of traits fabricated by an author.

It is in the style of social realism American noir. A true love affair that has as many similarities to Daniel Woodrell as to someone like Nell Dunn.

If in "American Gods" Neil Gaiman took an epic and extensive road trip to the soul of America, then Barry Gifford accomplished the same with a collection of vignettes in cars, bars, motel rooms, and restaurants, along with Lula and Sailor, making it an equally captivating experience.

Their journey is filled with uncertainties and adventures, as they navigate through different landscapes and encounter various people.

Each moment on the road adds to their story, making it a unique and unforgettable tale of love and discovery.

We can't help but be drawn into their world and root for them as they face the challenges that come their way.

It's a story that explores the depths of human emotions and the power of love in a gritty and realistic setting.

Barry Gifford has masterfully crafted a narrative that keeps us on the edge of our seats and leaves us longing for more.

I'm not entirely certain whether I should be glad that I watched the movie before reading the book.

If my memory serves me right, the movie was released in 1990, and this book also came out in the same year. Interestingly, David Lynch is even given credit for some design concept in the inside jacket copy.

The novel appears to be rather slim in comparison to the movie, which makes me wonder if there is more to this than just a short novel being adapted into a movie with a director taking considerable liberties with the story.

That being said, I truly loved the movie. It's possible that if I had never seen Lynch's interpretation, I might rate this novel three stars.

The story unfolds quickly, is simple and yet subtle. Nothing is overly done or exaggerated. The plot is rather sparse, but then again, this story is more focused on character development from the start.

However, even in that regard, a lot is left open for the reader to imagine and interpret.

Fun fun is an essential part of our lives. It brings joy, excitement, and a sense of fulfillment.

We all need some form of fun in our daily routines to relieve stress and unwind. Whether it's playing a game, watching a movie, or going on a trip, having fun allows us to forget about our worries and enjoy the moment.

Fun can also bring people together. It creates opportunities for social interaction and helps build stronger relationships. When we engage in fun activities with others, we share laughter, create memories, and form bonds that can last a lifetime.

In addition to the emotional benefits, having fun can also have a positive impact on our physical health. It can boost our immune system, improve our mood, and reduce the risk of developing certain diseases.

So, make sure to incorporate some fun into your life every day. Do something that makes you happy and brings a smile to your face. After all, life is too short not to have fun!

Barry Gifford employs a pulp style in his writing. It is spare, with a heavy reliance on dialogue. There is nearly no description, save for a few sketched-in details of the seemingly endless, dust-swept south.

Surprisingly, it is an almost actionless pulp, an existential one that is constructed around the bright flames of two characters. Their voices fill the story completely. (In fact, a great deal of action is contained within their own voices and stories, but only at the remove of those tales.)

David Lynch, who improved upon this template in the film version, states that he was compelled by these two characters, Sailor and Lula. He knew that he could subject them to hell, and they would come out okay as long as they had each other. This is actually an incredibly romantic concept.

But that is precisely what this story is truly about. These two characters love each other so deeply that the utterly desolate world surrounding them almost becomes insignificant. And so, they draw us along with them through the howling void, if that is the path they must take, and it appears that they indeed must.

I first read this while I was working at a bookstore on Decatur Street in New Orleans. There was a particular scene that stuck with me. In the story, a character (the sleazy private eye played by Harry Dean Stanton in the film) ate a half-dozen oysters at Acme Oyster Bar on Iberville Street and then walked right by my window. That is, he walked north(ish) on Decatur Street from Iberville.

It's important to note that this was in the book, not in the real world outside of it. In fact, this detail may not hold any significance for most people. Personally, I have a strong aversion to regionalism in literature. However, for some reason, this scene made an impression on my impressionable mind (fifteen years ago).

As a result, \\n  Wild At Heart\\n will always have a special place in my heart. It serves as a reminder of that moment in time when a simple fictional scene had such a profound impact on me.

This is a book that I constantly find myself picking up and randomly perusing. The reason? I have an intense love for Gifford's terse and tough prose.

During this latest reading, I am truly struck by Lula's strength. In the film adaptation, Laura Dern's histrionics beautifully contrast with Nicholas Cage's laconic ease.

However, as Sailor pilots their convertible into a terrible situation, there is an abundance of anxiety to be felt.

Moreover, Johnny Farragut, the reluctant detective played by Harry Dean Stanton, is a writer. His story within the story is the longest in the book, adding an extra layer of depth and intrigue.

This book is a captivating read, filled with memorable characters and a thrilling plot that keeps you on the edge of your seat from beginning to end.

I finished "Wild at Heart" yesterday.

It had that truly outstanding, charmingly dim-witted southern dialogue that I really dig.

I don't remember a whole lot about the David Lynch movie adaptation. However, it seems like they made some changes.

There is no Wizard of Oz witch and no hitmen as there might have been in the film.

I guess Lynch got this dude to write "Lost Highway", but I don't recall much about that either.

The author wrote approximately 4 or so sequels to this, and I actually wouldn't mind giving at least one of them a try.

I got kind of interested in the characters.

It was a really good read and basically a rambling southern road story.

The dude writes some interesting lines.

And, to be honest, it doesn't take away from the experience if you imagine the main character as Nicholas Cage.

Overall, it was an engaging and enjoyable literary adventure that left me curious about what might come next in the series.